Dream of death, dream of life[1]
Before the public performance, I knew this much about the theater Hey Big Man, Don't Cry that a remote neighborhood is invaded and news of the war is passed on to a young couple by the residents. And finally, after a year of waiting, it was given twelve nights of performance.
A corner of the conquering world is the residence of people whose eating, sleeping, anger and lust are done in the shadow of fear of death, this time under the pretext of war in senselessness and underhandedness. Free-willed people who have committed self-destruction within the short scope of their discretion. And according to Schizou, Dostoevsky agrees with me in this matter. Shizu is the central character of the drama who speaks in a foreign language, and with this way of expression, Buddhas are manifested and the director's thought comes to the fore.
The people of the show are engaged in pseudo-life in a vacuum. They think, sometimes they say poetry, they fight, they give birth, they issue statements and... they tell stories, the stories in their phones in the eyes of the dead who dream of living. And in this temptation, it is believed that the sinners stay and the pure go and become immortals. In this way, there is an opportunity for people to fight, which can lead to strengthening their relationships and this is an opportunity to reach salvation.
At the beginning of the show, the audience's imagination, along with the narration, approaches the scene of the show from a faraway view and until the end, with the help of the magic of music, it visualizes many objective and mental images. The hidden layers of the text and the visual subtleties included in the performance are the characteristics of a work that could be in the form of a novel or appear on the screen in the form of a picture. But the powerful pen of the author comes to life and is displayed on the stage of the wide range of light that it gives to the existence.
The decor of the show, Hey Big Man, Don't Cry, which seems to have the most important task of creating a level difference, is completely appropriate for the performance from an aesthetic point of view, but it is not considered a factor in advancing the flow of the show, and it does not meet the expectations of the audience who will be faced with the grandeur of the stage as soon as they enter the hall. Leave a reply.
In Hey Big Man, don't cry, regardless of all the things said and unsaid, the main issue is the presence of a director who, far from any imposition in the process of forming the show, invites the audience to watch a scene in which repetition is minimized because the use of from all indications, it is appropriate. Smoke, wine, laughter, silence, and... his crying is pristine and special for this performance.
And finally, congrats to him who showed that theater can still be considered based on honest and thoughtful communication...God bless the great man!
Saida Ajarbandian
[1] Shahrazad Monthly 3, 2004